Lmst

#TheMetalDogArticleList
#BraveWords–WhereMusicLives
Today In Metal History 🤘 June 23rd, 2025 🤘 DANZIG, APRIL WINE, TESTAMENT, W.A.S.P., DANZIG, NAPALM DEATH, THE HAUNTED, VOIVOD

https://bravewords.com/news/today-in-metal-history-%f0%9f%a4%98-june-23rd-2025-%f0%9f%a4%98-danzig-april-wine-testament-w-a-s-p-danzig-napalm-death-the-haunted-voivod/

#Danzig #AprilWine #Testament #WASP #NapalmDeath #TheHaunted #Voivod #MetalHistory #Bravewords #June2025

So ne Idee hatte ich auch schon mal:

(Noisiger) #Metal mit Bläsern von #Voivod, die sind aber auch alt geworden:

VOIVOD - The End Of Dormancy (Metal Section) (OFFICIAL VIDEO)

https://inv.nadeko.net/watch?v=iv321MReYW4

#TheMetalDogArticleList
#BraveWords–WhereMusicLives
VOIVOD Performs With Orchestre Symphonique De Québec; Fan-Filmed Video

https://bravewords.com/news/voivod-performs-with-orchestre-symphonique-de-quebec-fan-filmed-video/

#Voivod #OrchestreSymphoniqueDeQuébec #DinaGilbert #GrandThéâtreDeQuébec #QuebecCity #Canada #HeavyMetal #News #Video

Stuck in the Filter: March 2025’s Angry Misses

By Kenstrosity

Spring is in the air, and with it comes… an insane number of cicadas! Yes, that’s right, Brood XIV spawned this year and is currently overwhelming my staff as they trudge through embuggened ducts to clear out the Filter of semi-precious metal. I bet it’s fucking loud in there…

…. eh I’m sure they are all fine. Just fine. Anyway, enjoy the spoils of our toils!

Kenstrosity’s Gloopy Grubber

Acid Age // Perilous Compulsion [February 28th, 2025 – Self Released]

Belfast’s wacky thrash conglomerate Acid Age came out of absolutely nowhere back in March, unleashing their fourth LP Perilous Compulsion and equipping it with one helluva van-worthy cover. This is some funky, bluesy, quasi-psychedelic thrash metal that pulls no punches. Riffs abound, bonkers songwriting pervades, immense groove agitates. From the onset, “Bikini Island” establishes Perilous Compulsion as a no-nonsense, balls-out affair which reminds me heavily of Voivod and a simplified Flummox informed by Atheist’s progressive proclivities, and expanded by a touch of Pink Floyd’s nebulous jams. Of course, thrash remains Acid Age’s hero flavor, as choice cuts “State Your Business,” “Revenge for Sale,” and closing one-two punch “Rotten Tooth” and “Hamster Wheel” clearly demonstrate. While their fearless exploration of style and structure maintains a sky-high level of interest, it also introduces a couple of challenges. Firstly, this material can feel a bit disjointed at first, but focused spins reward the listener greatly as all of Perilous Compulsion’s moving parts start to mesh and move in unison. Secondly, Acid Age throws a spotlight on a few brilliant inclusions that, over time, I wish were more often utilized—namely, the delightfully bluesy harmonica solos on “Rotten Tooth.” Regardless, Acid Age put themselves on my map with Perilous Compulsion. I recommend you put them on yours, too!

Owlswald’s Desiccated Discoveries

Verbian // Casarder [March 21st, 2025 – Lost Future Records]

It’s unjust that Portuguese rockers Verbian—who have been producing quality post-rock since 2019’s Jaez—haven’t received the attention they deserve. Fusing elements of post-rock with metal, psychedelic, and stoner, Casarder is Verbian’s third full-length and the first with new drummer Guilherme Gonçalves. Taking the sounds and inspirations of 2020’s Irrupção and enriching it with new permutations and modulations, Casarder’s largely instrumental character rides punchy riffs and roiling grooves—à la Russian Circles and Elder—to transmit its thought-provoking legitimacy. Dystopian and surreal séances, via echoing Korg synthscapes (“Pausa Entre Dias,” “Vozes da Ilha”) and celestial harmonies, permeate Casarder’s forty-three-minute runtime, translating Madalena Pinto’s striking Aeon Flux-esque cover art with precision. Ominous horn sections and crusty recurrent vocals (“Marcha do Vulto,” “Depois de Toda a Mudança”) by guitarist Vasco Reis and bassist Alexandre Silva underscore Verbian’s individuality in a crowded post-rock domain. Gonçalves’s drumming—with his intricate and enchanting hard rock and samba rhythms (“Nada Muda,” “Fruta Caída do Mar”)—adds a new dimension to Verbian’s sound, assuring my attention never falters. The group describes Casarder as communicating the “…insecurities of artistic expression and personal exposure when it comes to fearing being judged for something that is somewhat outside of what is done in each artist’s niche.” Indeed, Casarder reveals Verbian is unafraid to forge their own path, and the results are gripping.

Symbiotic Growth // Beyond the Sleepless Aether [March 28th, 2025 – Self Released]

Beyond the Sleepless Aether, the sophomore effort by Ontario, Canada’s Symbiotic Growth, immediately caught my attention with its dreamy-looking cover. Building upon their 2020 self-titled debut, the Canadian trio hones epic and long-form progressive death metal soundscapes, narrating a quest for meaning across alternate realities in mostly lengthy, yet rewarding, tracks that blend technicality, atmosphere, and melody. The group frequently employs dynamic shifts, moving between raging brutality and serene shoegaze beauty (“Arid Trials and Barren Sands,” “The Sleepless Void”). This is achieved through complex and vengeful passages alongside atmospheric synth lines and softer piano interludes (“Sires of Boundless Sunset,” “Of Painted Skies and Dancing Lights”), cultivating an air of wonder, mystery, and ethereality that permeates much of Symbiotic Growth’s material. “The Architect of Annihilation” echoes the style of Ne Obliviscaris with its blend of clean harmonies and harsh growls meshed with tremolo-picked arpeggiations and catchy hooks (the guitar solo even features a violin-like quality). “Lost in Fractured Reveries” evokes In Mourning with its parallel synth and guitar lines giving way to devastating grooves that make it impossible not to headbang. Although some fine-tuning remains—the clean vocals could use some more weight and tracks like “Of Painted Skies and Dancing Lights” and “The Architect of Annihilation” overstay their welcome at times—Beyond the Sleepless Aether shows Symbiotic Growth’s burgeoning talent and signals the group is one to watch in progressive death metal.

Dear Hollow’s Drudgery Sludgery Hoist

Spiritbox // Tsunami Sea [March 7th, 2025 – Pale Chord Records | Rise Records]

From humble beginnings in a more artsy-fartsy djent post-Iwrestledabearonce world to becoming the darlings of Octane Radio, Spiritbox has seen quite the ascent. While it’s easy to look at their work and scoff at its radio-friendliness, sophomore full-length Tsunami Sea shows Courtney LaPlante and company sticking to their guns. Simultaneously more obscure and more radio-friendly in its selection of tracks, expect its signature blend of colossal riffs and ethereal melodies guided by LaPlante’s siren-then-sea serpent dichotomy of furious roars and haunting cleans. Yes, Spiritbox helms its attack with the radio singles (“Perfect Soul,”1 “Crystal Roses”) in layered soaring choruses and touches of hip-hop undergirded by fierce grooves, but the meat of Tsunami Sea finds the flexibility and patience in the skull-crushing brutality (“Soft Spine,” “No Loss, No Love”) and its more exploratory songwriting that amps layers of the ethereal and the hellish with catchy riffs and vocals alike (“Fata Morgana,” “A Haven of Two Faces”). It’s far from perfect, and its tendency towards radio will be divisive, but it shows Spiritbox firing on all cylinders.

Unfleshing // Violent Reason [March 28th, 2025 – Self Released]

I am always tickled pink by blackened crust. It takes the crusty violence and propensity for filth and adds black metal’s signature sinister nature. Unfleshing is a young, unsigned blackened crust band from St. Louis, and with debut Violent Reason, you can expect a traditional punk-infused beatdown with a battered guitar tone and sinister vocals. However, more than many, the quartet offers a beatdown that feels as atmospheric as it is pummeling. Don’t get me wrong, you get your skull caved in like the poor guy on the cover with minute-long crust beatdowns (“Body Bag,” “From the Gutter”) and full-length smackdowns (“Knife in the Dark,” “Final Breath”), both styles complete with scathing grooves, squalid feedback, climactic solos and punishing blastbeats, atop a blackened roar dripping with hate. But amid the full-throttle assault, Unfleshing utilizes ominous black metal chord progressions and unsettling plucking to add a more dynamic feature to Violent Reason (“Cathedral Rust,” “One With the Mud”). The album never overstays, and while traditional, it’s a hell of a start for Unfleshing.

Ghostsmoker // Inertia Cult [March 21st, 2025 – Art as Catharsis Records]

Ghostsmoker seems like the perfect stoner metal band name, but aside from the swampy guitar tone, there’s something much sinister lurking. Proffering a caustic blackened doom/sludge not unlike Thou, Wormphlegm, and Sea Bastard, the Melbourne group quartet devotes a crisp forty-two minutes to sprawling doom weighted by a crushing guitar tone that rivals Morast‘s latest, and shrieked vocals straight from the latest church burning. Beyond what’s expected from this particular breed of devastation, Ghostsmoker infuses an evocative patience reminiscent of post-metal’s more sludgy offerings like Neurosis or Pelican, lending a certain atmosphere and mood of dread and wilderness depicted on its cover. From the outright chugging attacks of churning aggression (“Elogium,” “Haven”) to the more experimental and thoughtful pieces (“Bodies to Shore,” instrumental closer “The Death of Solitude”), Inertia Cult largely feels like a journey through uncharted forests, with voices whispering from the trees. Ghostsmoker is something special.

GardensTale’s Paralyzed Spine

Spiine // Tetraptych [March 27th, 2025 – Self Released]

Is it still a supergroup release when half the lineup are session musicians? Spiine is made up of Sesca Scaarba (Virgin Black) and Xen (ex-Ne Obliviscaris), but on debut Tetraptych they are joined by guests Waltteri Väyrynen (Opeth) and Lena Abé (My Dying Bride). Usually, so much talent put into the same room does not yield great results. Tetraptych is one hell of an exception. A monstrous slab of crawling heaviness, Spiine lurches with abject despair through the mires of deathly funeral doom. Though I usually eschew this genre, my attention remains rapt through a variety of variations. The songwriting keeps the 4 tracks progressing, slow and steady builds, and the promise of momentary tempo changes working a two-pronged structural plan to buoy the majestic yet miserable riffs. “Oubliiette” is the best example here, going from galloping death-doom to Georgian choirs to a fantastic bridge where all the instrumentation hits only on the roared syllables. Xen’s unholy bellows flatten any objections I may have had, managing both thunder and deepest woe in the same notes. The subtle orchestration and occasional choir arrangements finish the package with regal grandeur, and the lush and warm production is the cherry on top. If you feel like drowning your sorrows with an hour of colossal doom, this is the album for you.

Saunders’ Stenched Staples

Ade // Supplicium [March 14th, 2025 – Time to Kill Records]

Sometimes unjustly pigeonholed as the Roman-inspired version of Nile, the hugely underrated Ade have punched out a solid career of quality death metal releases since emerging roughly fifteen years ago, charting their own path. Albums like 2013’s ripping Spartacus and 2019’s solid Rise of the Empire represent a tidy snapshot of the band’s career. Fifth album Supplicium, their first LP in six years, marks a low-key, welcome return. Exotic instrumentation and attention to history and storytelling are alive and well in the Ade camp, as is their penchant for punishing, unrelenting death, featuring a deftly curated mix of bombast, brutality, technical spark, and epic atmospheres. Edoardo Di Santo (Hideous Divinity) joins a largely refreshed line-up, including a new bassist and second guitarist since their last album. Line-up changes aside, familiar Ade tools of harrowing ancient Roman tales and modern death destruction remain as consistently solid as always. Top-notch riffs, intricate arrangements, fluid tempo shifts, and explosive drumming highlight songs that frequently flex their flair for drama-fueled atmospheres, hellfire blasts, and burly grooves. The immense, multi-faceted “Burnt Before Gods,” exotic melodies and raw savagery of “Ad Beastias!,” spitfire intensity of “Vinum,” and epically charged throes of “From Fault to Disfigurement” highlight more solid returns from Ade.

Masters of Reality // The Archer [March 28th, 2025 – Artone Label Group/Mascot Records]

Underappreciated desert rock pioneers and quirky stalwarts Masters of Reality returned from recording oblivion some fifteen-plus years since they last unleashed an LP. Led by the legendary Chris Goss and his collaborative counterparts across a career that first kicked off in the late ’80s, Masters of Reality return sounding inspired, wisened, and a little more chilled. Re-tinkering their familiar but ever-shifting sound, Masters of Reality incorporate woozy, bluesy laidback vibes featuring their oddball songwriting traits through a sedate, intriguing collection of new songs. The Archer showcases Masters of Reality’s longevity as seasoned, skilled songwriters, regardless of the shifting rock modes they explore. While perhaps lacking some of the energetic spark and earworm hooks of albums like Sunrise on the Sufferbus and Deep in the Hole, The Archer still marks a fine return outing. Goss’ signature voice is in fine form, and the bluesy, psych-drenched guitars, cushy basslines, ’60s and ’70s influences, and spacey vibes create a comforting haze. The delightfully dreamy, trippy “Chicken Little,” laidback hooks and old school charms of “I Had a Dream,” lively, quirky grooves of “Mr Tap n’ Go,” and moody, melancholic balladry of “Powder Man” highlight another diverse, strange brew from the veteran act.

Tyme’s Unheard Annunciations

Doomsday // Never Known Peace [March 28th, 2025 – Creator-Destructor Records]

March’s filter means spring is here, mostly, which is when I start searching for bands to populate my annual edition of Tyme’s Mowing Metal. There’s nothing I enjoy more than cracking a cold beer, sliding my headphones over my ears, and hopping on the mower to complete one of summer’s—at least for me—most enjoyable chores. A band that will feature prominently this summer is Oakland, California’s crossover thrash quintet Doomsday, and their Creator-Destructor Records debut album, Never Known Peace. Doomsday lays down a ton of mindless fun in the vein of other crossover greats like Enforced and Power Trip. There are riffs aplenty on this deliciously executed hardcore-tinged thrashtastic platter full of snarly, spiteful, Jamey Jasta-esque vocals, trademark gang shouts, and, oh, did I mention the riffs? Yeah, cuz there’s a butt-ton of ’em. Leads and solos are melodic (“Death is Here,” “Eternal Tombs”). Within its beefily warm mix, the chug-a-lug breakdowns run rampant across Never Known Peace‘s thirty-one minutes (seriously, there’s one in every track), leaving nary a tune that won’t have you at least bobbing your head and, at most, causing your neck a very nasty case of whipthrash. I’m going to be listening to Never Known Peace ALOT this summer, on and off my mower, and while I don’t care that the lawn lines in my yard will be a little wavier this year than others, I’ll chalk it up to the beer and the head banging Doomsday‘s Never Known Peace instills.

Rancid Cadaver // Mortality Denied [March 21st, 2025 – Self Released]

Another filter, another fetid fragment of foulness; this month, it’s up-and-coming deathstarts Rancid Cadaver and their independently released debut album Mortality Denied. Adam Burke’s excellent cover art caught my eye during a quick dip into the Bandcamp pool and had me pushing play. A thick slab of murderous meat ripe with fatty veins of Coffin Mulch and Morbific running through it, Mortality Denied overflows with tons of bestial vocals, crushing drums, barbaric bass, and squealing solos, all ensorcelled within the majesty of Rancid Cadaver‘s miasmic riff-gurgitations (“Slurping the Cerebral Slime,” “Mass of Gore,” and “Drained of Brains”). Fists will pump, and faces will stank during the Fulci-friendly “Zombified,” a pulverizing slow-death chug fest with an intro that landed me right back on the shores of Dr. Menard’s island of the undead.2 This quartet of Glaswegians has plopped down a death metal debut that ages like wine, getting better and better with consecutive spins. Surprisingly, Rancid Cadaver is unsigned, but I’m confident that status should change before we see a sophomore effort, and you can bet I’ll be there when that happens.

Dolphin Whisperer’s Unsophisticated Slappers

Crossed // Realismo Ausente [March 21st, 2025 – Zegema Beach Records]

Timing means everything in groove. I know that some people say that they have a hard time finding that kind of bob and sway in extreme music. But with an act like Spain’s Crossed, whose every carved word and every skronked guitar noise follows an insatiable punky stride, groove lies in every moment of third full-length Realismo Ausente. Whether it’s on the classic beat of D (“Vaciar Un Corazón,” “Cuerpo Distorsionado”), the twanging drone of a screaming bend (“Monotonía de la lluvia en la Ventana”), or the Celtic Frost-ed hammer of a chord crush (“Catedral”), a calculated, urgent, and intoxicating cadence colors the grayscale attitude throughout. But just because Crossed can find a groove in any twisted mathy rhythm—early Converge and Dillinger Escape Plan come to mind on quick cuts like “Cerrojo” and “Sentirse Solo”—doesn’t mean that their panic chord-loaded crescendos and close-outs can’t rip your head clean off in banging ecstasy. Easy listening and blackened hardcore can’t go hand-in-hand, but Crossed does their very best to make unintelligible, scathing screeches and ceiling-scraping feedback hissing palatable against crunchy punk builds and throbbing, warm bass grumbles. Likewise, Realismo Ausente stabs into a dejected body tales of loathing, fear, self-rejection, and defeated existence—nothing smiles in its urgent and apathetic crevices. But despite the lack of light at the end of the tunnel of Crossed’s horror-touched vision of impassioned hardcore, an analog warmth and human spirit trapped inside a writhing and pleading throat reveal a presence that’s still fighting. It’s the fight that counts. If you didn’t join the fight last time, now’s as good a time as any.

Nothing // The Self Repair Manifesto [March 26th, 2025 – Self Released]

If you noticed a tree zombie heading steaming through its trepanned opening, then you too found the same initial draw I had to The Self Repair Manifesto. Nothing complex often can draw us to the things we desire, yet in Nothing’s particular attack of relentless, groove-based death metal, many nooks of additional interest exist. The Self Repair Manifesto’s tribal rhythm-stirred “Initiation,” in its bouncy play, does little to set up the double-kick pummel and snarling refrains that lurk in this brutal, Australian soundscape. The simple chiming cymbal-fluttering bass call-and-response of “Subterfuge,” the throat singing summoning of “The Shroud,” the immediate onslaught of “Abrogation”—all in under 30 minutes, an infectious and progressive experience unfolds. And never fear, living by the motto “no clean singing,”3 Nothing has no intention of traveling the wandering and crooning path of an Opeth or In Vain. Rather, Nothing finds a hypnotic rhythmic presence both in fanciful kit play that stirs a foot shuffle and high-tempo stick abuse that urges bodies on bodies in the pit (“Subterfuge,” “The Shroud”), much in the same way you might hear in early Decapitated or Hate Eternal works. With flair of their own, though, and a mic near the mouth vessel of each member (yes, even the drummer!) to maintain a layered harsh intensity, Nothing serves a potent blend of death metal that is as jam-able as it is gym-able. Whether you seek gains or progressive enrichment, Nothing is the answer.

Steel Druhm’s Massive Aggressive

Impurity // The Eternal Sleep [ March 7th, 2025 – Hammerheart Records]

Impurity’s lust for all things Left Hand Path is not the least bit Clandestine, and on their full-length debut, The Eternal Sleep, they attempt to craft their own ode to the rabid HM-2 worship of the early 90s Swedeath sound. No new elements are shoehorned in aside from vaguely blackened ones, and there’s not the slightest effort to push the boundaries of the admittedly limited Swedeath sound. The Eternal Sleep sounds like the album that could have come between Entombed’s timeless debut and the Clandestine follow-up, and that’s not a bad place to be. It’s heavy, brutish, buzzing death metal with an OSDM edge, and it hits like a runaway 18-wheeler full of concrete and titanium rebar. One only needs to weather the shitstorm of opener “Denial of Clarity” to realize this is the deep water of the niche genre. It’s extremely heavy, face-melting death with more fuzz and buzz than your brain can process. Other cuts feel like a direct lift from Left Hand Path and/or Clandestine (“Tribute to Creation,”) and fetid Dismember tidbits creep in during “Pilgrimage to Utumno,” and these feel like olde friends showing up unexpectedly at the hometown watering hole. Swedeath is all about those ragged, jagged riffs, and they’re delivered in abundance over The Eternal Sleep, and despite the intrinsic lack of originality, Impurity pump enough steroids and Cialis into the genre archetypes to make the material endearing and engaging. Yes, you’ve heard this shit before. Now hear it again, chumbo!

#AcidAge #Ade #AmericanMetal #ArtAsCatharsisRecords #ArtoneLabelGroup #Atheist #AustralianMetal #BeyondTheSleeplessAether #BlackMetal #BlackenedCrust #BlackenedHardcore #CanadianMetal #Casarder #CelticFrost #CoffinMulch #Converge #CreatorDestructorRecords #Crossed #Crust #DeathMetal #Decapitated #DesertRock #DillingerEscapePlan #DoomMetal #Doomsday #Elder #Enforced #Flummox #Fulci #Ghostsmoker #Hardcore #HateEternal #HideousDivinity #Impurity #InMourning #InVain #InertialCult #InternationalMetal #ItalianMetal #iwrestledabearonce #LostFutureRecords #MascotRecords #MastersOfReality #Mathcore #MelodicMetal #Metalcore #Morast #Morbific #MortalityDenied #MyDyingBride #NeObliviscaris #Neurosis #NeverKnownPeace #Nile #Nothing #Opeth #PaleChordRecords #Pelican #PerilousCompulsion #PinkFloyd #PortugueseMetal #PostRock #PostMetal #PowerTrip #ProgressiveDeathMetal #ProgressiveMetal #ProgressiveThrashMetal #PyschedelicRock #RancidCadaver #RealismoAusente #Review #Reviews #RiseRecords #RussianCircles #ScottishMetal #SeaBastard #SelfReleased #SixpenceNoneTheRicher #SludgeMetal #SpanishMetal #Spiine #Spiritbox #StonerMetal #Supplicium #SymbioticGrowth #TechnicalDeathMetal #Tetraptych #TheArcher #TheEternalSleep #TheSelfRepairManifesto #Thou #ThrashMetal #TimeToKillRecords #TsunamiSea #UKMetal #Unfleshing #Verbian #ViolentReason #VirginBlack #Voivod #Wormphlegm #ZegemaBeachRecords

#TheMetalDogArticleList
#Blabbermouth
Watch: VOIVOD Performs With Orchestre Symphonique De Québec

https://blabbermouth.net/news/watch-voivod-performs-with-orchestre-symphonique-de-quebec

#Voivod #OrchestreSymphoniqueDeQuébec #DinaGilbert #GrandThéâtreDeQuébec #QuebecCity #Canada #Experiment #HolographicThinking #TheUnknownKnows #NuclearWar

New #Voivod show dates 👀
Get your tickets via: https://linktr.ee/VoivodSummerEurope2025
.
.
.
#metalhead #metalmusic #metal #metalband #metalconcert #thrashmetal #oktoberpromo #oktoberpromotion #centurymediarecords

🤘✌️

New #voivod tour data got announced 👀

🎟️ Get your tickets via: https://linktr.ee/VoivodSummerEurope2025

#centurymediarecords
#oktoberpromotion

The Metal Fest 2025, a pesar de todo el metal sigue mas vivo que nunca. | vía #SonidosOcultos

https://www.sonidosocultos.com/conciertos/the-metal-fest-2025-a-pesar-de-todo-el-metal-sigue-mas-vivo-que-nunca/

#boa #carcass #chilefestival #conciertos #diametral #kerryking #livereview #metalchileno #movistararena #nile #nimrod #nuclear #oregaproducciones #paradiselost #poemaarcanus #reseña #rodrigodamiani #sabaton #saxon #squad #t2025 #terminalprospect #themetalfest #voivod

#TheMetalDogArticleList
#BraveWords–WhereMusicLives

FORBIDDEN Unveil Artwork For New Single “Divided By Zero”

https://bravewords.com/news/forbidden-unveil-artwork-for-new-single-divided-by-zero/

#Forbidden #DividedByZero #BetoFerris #SharkbiteStudios #AlcatrazFestival #DeathAngel #BloodstockOpenAir #BayAreaThrash #Voivod #DanMongrain

The Metal Fest 2025: Kerry King, Sabaton, Saxon, Carcass, Paradise lost, Voivod y Nile. | vía #SonidosOcultos

https://www.sonidosocultos.com/galeria/the-metal-fest-2025-kerry-king-sabaton-saxon-carcass-paradise-lost-voivod-y-nile/

#carcass #chile #fotoreportaje #galería #kerryking #movistararena #nile #oregaproducciones #paradiselost #rodrigodamiani #sabaton #saxon #t2025 #themetalfest #voivod

The Metal Fest 2025: Un ritual de unión y furia | vía #NaciónRock

https://www.nacionrock.com/the-metal-fest-2025-un-ritual-de-union-y-furia/

#paradiselost #poemaarcanus #rockenvivo #sabaton #squad #themetalfest2025 #voivod

AMG’s Unsigned Band Rodeö: Exterior Palnet – Haragma II

By Dolphin Whisperer

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

Another year, another chance for the Rodeö to lasso a lurking but worthy buck. We do dirty business here at Angry Metal Guy and Sons, LLC, sifting promo after promo to catch a whiff of glory. But we do it all for the love of music, a love of exploration, and a love of dealing in the currency of informed and accurate opinions. Just ask the wise and appreciative minds of the powerful minds at Rolling Stone—they agree 1 2 we’re putting in the time!

But enough about us. You want to hear about Exterior Palnet, right? Don’t worry, they know that the word planet exists. These Croatian oddballs prefer to use a related and wholly untraceable word instead. And in that essence, Haragma II, their sophomore release, follows a musical path of likely patchwork influence and cross-genre reverence. Trv to black metal roots, a frosty trem and low-clack blast persists. Yet in tempo-fluid runs, Exterior Palnet finds a progressive, thrashy, and unpredictable attitude that sets their attack galaxies away from their frosty Norwegian forebears. So buckle up and prepare for extreme forces as you wrestle with the words our Cow Folk have for you today. And, if I’ve timed this right, this is the named debut of ascended n00b Owlswald (formerly 87).3 He’s a hoot. – Dolphin Whisperer

Exterior Palnet // Haragma II [January 24th, 2025]

El Cruevo: Exterior Palnet caused a ruckus in the AMG.com break room. “early Dødheimsgard plus [redacted shit-head black metal]4 wrapped in a [redacted shit-head thrash metal] package!” cried one individual. “[The band] is firing on all cylinders!” another gushed. When I was done cleaning their excrement off the ceilings, I learned that neither was wrong; Haragma II offers an avant-garde take on black metal executed with pummeling leads that sometimes wander into thrashy territory. But neither description clarified the reality that Exterior Palnet evoke the sadly-inactive A Forest of Stars; bolstered with additional pace and power, but weakened by a lack of dynamism and curiosity. Although the music has the sinister, inescapable feel of a spider’s web, it’s simply not very memorable or enjoyable. There are solid riffs, sure. And a warped, beastly attitude. Ordinarily these might fuse into something compelling. But I find myself drifting in and out while listening to Haragma II. For a record playing with such dissonance, heaviness and speed, the fact that it barely holds my attention rings the death knell. Now that my time with it is over, I have no interest whatsoever in returning. 2.0/5.0

Dolphin Whipserer: Yes, it will take more than one listen of Haragma II to settle into its particular brand of dreamy chaos. In a reckless manner, Exterior Palnet scatters crumbs of its mission about with twangy, swaggering groove that belies an incessant rhythmic trickery. Playing its hand first with the blasting and beguiling “Haragma” and “Zaphnath-Paaneah” feels like a sleight in the wake of the grandiose and wailing “Behind the Veil.” But understanding how it’s sudden hi-hat shuffle and endless bending mania can feel both natural and striking is key to unlocking the HII universe. Much like the early blackened scrawl of an early DHG—also informed by the progressive, narrative drama of the classic A Umbra Omega—a tangible mysticism lurks around every barked and battered word that escapes through Tomislav Hrastovec’s mic. Whether it’s the Hebrew prayer recital that closes “Beyond the Veil,” the surrealistic depiction of seasonless erosion of “Exoskeleton,” the elemental chant that guides the conclusion of “Haragma,” a shroud of existential disaster carves HII’s every edge—I’d suggest reading along with its words, which are all fully available on the Bandcamp page.5 The world we live in is bizarre, and Exterior Palnet does their very best to make sense of its senselessness through long dissonant resolves, whiplash pneumatic propulsions, and scraggly Voivodian bass drives. And yet, as “Heracleidae” stumbles to the total journey’s conclusion, a heroic melody casts a light of hope. Anecdotal, densely packed, and passing like the flash of a forgotten moment, Haragma II wears a brand of drama that drills shrill melody against swerving tempos in hopes to find a straight line. For some of us, the search is the answer. 3.5/5.0

Icebreg: Exterior Palnet are a tough nut to crack. Their music is dense and mechanical, rarely giving the listener an aural handhold. At first blush Haragma II presents as an unyielding barrage of dissonance layered on top of polyrhythm, sporting stream-of-consciousness style cavernous vocals. Amidst the scaling, wailing guitars and humming synths rages the beating heart of Exterior Palnet; a drummer6 who’s clearly read the mathcore brief. The undisputed star of this show, stuttering hi-hat rhythms and bursts of tom patterns reminiscent of Thomas Pridgen-era The Mars Volta live alongside monolithic blastbeats and wall-of-sound cymbal crashes. But exemplary performances don’t always translate into approachability, and Haragma II will rebuff all but the most determined musical excavators. Like staring into a Magic Eye puzzle, cycling chord structures and melodies appear in “Haragma” and “Exoskeletons,” but only after patient, focused listens. And while eleven-minute epic “Behind The Veil” revels in its noisy climax and grindy bookend riffs, it weights down the middle of an album that already suffers from potential fatigue issues. A break in the chaos appears in the twilight minutes of “Heracleidae,” and while my ears are thankful for the change in texture, the band’s performance doesn’t seem as tight as the rest of the album, making the section seem more mistake than intention. Exterior Palnet unflinchingly adhere to their style of blackened mathcore,7 and execute it well, but the lack of sonic relief here makes it a tough listen for this reviewer. 2.5/5.0

Alekihnes Gun: The “No Regerts” style named Exterior Palnet have descended from space. One look at the cover is an excellent setup for expectations; with its Voivod by way of Refrigerator Art décor, it’s clear something herky and jerky is on the horizon. Exterior Palnet manage to slide between an assembly of treble heavy riffs and melodies which inevitably walk back into more straightforward pummeling. Album centerpiece “Behind the Veil” is the real test for listener appreciation, clocking in at a whopping eleven minutes and managing to make each minute count with an assembly of moments ranging from mood setting sustained plucking scales to proper tremelos over blast beats. Haragma II doesn’t want for a glut of such moments, though the entirety of the album sounds more like a collection via stream of consciousness more than a series of cohesive songs. This is partially the fault of the mix, where the drums are produced so heavily as to drown out some of the clarity of the riffs on display, and the bass is reduced to an atonal rumble rather than function as support for the chord progressions. There’s a really fun atmosphere on display here and whiffs of excellence to be found across the album, if they can tighten the screws on the song writing a bit and get a mix to serve the overall presentation. 2.5/5

Thyme: Exterior Palnet‘s sophomore album, Haragma II, was slightly off-putting on the first listen, but it’s grown on me like some feral space rash. Riffs pinball in every direction, ranging from chaotically dissonant (“Haragma”) to pensively inquisitive (“Zaphnath-Paaneah”) as if tip-toeing through blackened tulips and sparking like schizophrenic flashbangs, recalling the experimental instrumentality of acts like Krallice, DsO, and early Dødheimsgard. It wasn’t until the twangy swing of “Behind the Veil” kicked in, however, that Exterior Palnet‘s claws really dug in. An eleven-minute odyssey and the album highlight, “Behind the Veil,” displays all the tricks in Exterior Palnet‘s bag. Bruno Čavara’s guitars crash and splash against each other in sprays of dissonant mist as he expertly ushers us across tremolodic waters and rifferous wastelands. With emotionally restless desperation, Tomislav Hrastovec’s tortured shouts and screams pair perfectly with Čavara’s intricate guitars and session bassist Vedran Rao Brlečić’s punchy low-end work. While no drummer was credited, programmed or not,8 the drums sound lush and vibrant, keeping the serpentine instrumentation in check, which is no small feat. My biggest gripe with Haragma II lies in the mix, which I find too loud. I know this is black metal, but there are so many interesting things happening here that I think the mix robs the listener, especially the casual ones, of experiencing the material’s full complexity. Ultimately, Exterior Palnet has released an album worthy of your time, and I hope you check it out. 3.0/5.0

Owlswald: My relationship with black metal is complicated. No longer drawn to the forthright tremolo and low-fi discords of old, I now find the genre’s more avant-garde forms satiating. This leads me to believe Croatia’s Exterior Palnet should be right up my alley, as they deliver a chaotic yet grounded sound that both captivates and overwhelms me in equal measure. Haragma II’s strength lies in its ability to generate a palpable sense of unease and restlessness through swarms of dissonant guitars, anguished cries and shifting tempos. Whether conjuring Deathspell Omega anxiety and agitation through its swirling and undulating soundscape (“Heracleidae”) or transmuting its frenetic energy via taut blasts and fills (“Exoskeletons,” “Zaphnath-Paaneah”), Haragama II is all about keeping the listener off-kilter. Despite its often exhausting intensity, Exterior Palnet offers brief but welcome respites, including the Doldrum-esque groovy syncopations within “Haragma” or the unexpected shoegaze-tinged textures ending “Behind the Veil.” Still, Haragma II’s songwriting would benefit from greater balance, as it currently prioritizes pandemonium through a loud, upfront mix. Exterior Palnet reach their peak when atmosphere, groove and prevailing intensity are in equilibrium. Haragma II proves there is still room for growth. Good.

#2025 #AForestOfStars #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #BlackMetal #CroatianMetal #Dödheimsgard #Doldrum #ExteriorPalnet #HaragmaII #IndependentRelease #Jan25 #Krallice #ProgressiveBlackMetal #Review #Reviews #SelfRelease #TheMarsVolta #Voivod

Want an almost 18-minute SF/metal epic about a Space President taking over Earth? Of course you do.

https://www.youtube.com/watch?v=afH7ByUeWpY

#CanCon #Voivod

VOIVOD, die Sci-Fi-Prog-Metaller aus Kanada, kündigen ihr eigenes Videospiel an: "Voivod: The Nuclear Warrior" ist ein Game in Frühneunziger-Optik, das den besonderen Sound und die einzigartige Ästhetik der Band aufgreift. #voivod #ProgressiveMetal #videogames

https://www.burnyourears.de/news/54512-voivod-kuendigen-videospiel-an-trailer-veroeffentlicht.html

Metal platformer Voivod: The Nuclear Warrior from Chaosmonger now on Kickstarter and smashed the funding goal #Voivod #Metal #Gaming #PCGaming #Linux

Metal platformer Voivod: The N...

Metal platformer Voivod: The Nuclear Warrior from Chaosmonger now on Kickstarter and smashed the funding goal https://www.gamingonlinux.com/2025/04/metal-platformer-voivod-the-nuclear-warrior-from-chaosmonger-now-on-kickstarter-and-smashed-the-funding-goal/

#Voivod #Metal #Gaming #PCGaming #Linux

Sijjin – Helljjin Combat Review

By Mark Z.

I’ve heard people say that today’s music has nothing new to offer, but I actually think it has the opposite problem. To me, there are too many fucking bands out there playing technical blackened dissodeath with a tuba or some shit and not enough who simply take a tried-and-true style and execute it well. Such was what initially drew me to Sijjin. Right around the time their infamous doom-death band Necros Christos dissolved in 2021, bassist/vocalist Malte Gericke and drummer Iván Hernández joined forces with guitarist Ekaitz Garmendia (Legen Beltza) to pay homage to the earliest years of death metal with Sijjin’s full-length debut, Sumerian Promises. With its twisted tremolos and thrashy undercurrents, Sumerian Promises was a fun throwback that reeked with the archaic death stench of bands like Sadistic Intent, Mortem, Atomic Aggressor, and early Morbid Angel. Almost four years later, the group have now finally delivered their second album, Helljjin Combat. But is this a triumphant victory or yet another casualty of the heavy metal battlefield?

One thing is clear: Helljjin Combat is quite a bit different than its predecessor. The change in approach is apparent right from the opener, “Fear Not the Tormentor,” which begins with an extended instrumental opening that uses technical riffing and lively bass guitar in a way that almost sounds like Voivod. The tech-thrash vibe continues throughout the songs’s eight-and-a-half minute runtime, with dexterous fretwork trading off with quick, chunky chords and twirling tremolos, all anchored by a refrain that consists of a staccato shout of the track title. While it’s not the primitive death-thrash I was looking for, it’s a fine song in its own right.

Unfortunately, the rest of the album isn’t quite as successful in executing the band’s new style. It soon becomes apparent that many of these eight tracks spend less time delivering sharp hooks and memorable riffs and more time simply lurching forward on mid-paced pseudo-grooves that only occasionally get the head bobbing. Sometimes, interesting ideas will crop up, like when “Religious Insanity Denies Slavery” evokes old Metallica with a dusty, cleanly-picked midsection that builds into Old West-style lead guitars. Yet moments like this only make it more apparent how so much of the surrounding material fails to stand out. It doesn’t help that none of these songs are under five minutes, and it’s also unfortunate how many of them open with similar-sounding semi-technical riffs that make me contemplate hitting the stop button well before the album’s 49 minutes are over. Malte’s vocals also sound throatier and less raspy than on Sumerian Promises, which is fitting for the band’s new approach but still isn’t the most welcome change.

Fortunately, there’s some stuff to enjoy here. The two pre-release songs, “Dakhma Curse” and “Five Blades,” probably won’t make anyone’s Song ‘O the Year List, but at least their nimble riffing and quicker rhythms offer the album a nice shot of energy. “The Southern Temple” serves as a decent closer with the more powerful riffing in its second half, and the band’s instrumental prowess is more impressive than ever (especially Ekaitz’s adept riffing and solos). Ekaitz recorded the album in his own studio in the Basque Country, and the result is fantastic. The sound is clear and powerful, with the guitars roaring confidently and the bass guitar maintaining an active and distinct presence below the riffing. And while the atmosphere isn’t as strong as the debut, there’s still a whiff of ancient evil here that I find most welcome.

Yet ultimately, Helljjin Combat is the epitome of a Mixed bag. While the production and the instrumental performances are great, the songwriting is less compelling. With a few sharper hooks, tighter track lengths, and a couple of faster songs, Helljjin Combat could have easily been better than Sumerian Promises. As it is, I can’t help but be a bit disappointed that not only did Sijjin choose to move away from death metal and into a more technical thrash metal sound, but also that they didn’t do the best job executing this new style. While there are a couple of decent songs and some impressive things here, I don’t see Helljjin Combat as an album I’ll be returning to often.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Sepulchral Voice Records
Websites: sijjin.bandcamp.com | Facebook | instagram.com/sijjin_official
Releases Worldwide: April 25th, 2025

#25 #2025 #Apr25 #AtomicAggressor #DeathMetal #HelljjinCombat #InternationalMetal #LegenBeltza #Metallica #MorbidAngel #Mortem #NecrosChristos #Review #Reviews #SadisticIntent #SepulchralVoiceRecords #Sijjin #ThrashMetal #Voivod